awaiting spring

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Longing to get out into the garden to clean up yet-untrimmed perennials, prune the roses and hydrangeas, weed and smell the earth, I’ve been frustrated by our extra long and colder winter. Usually the second half of February is spring-like, but sunshine has teased us only a few hours on a few days, and then it often happens that I’m working in the studio. The days are getting longer, yes, but they are still so gloomy that it’s easy to feel a bit just a bit SAD.

After a busy and productive week in the studio (yea!), I’d hoped for the blessings and energy from some sunshine. Instead it’s very cold (3C), windy and rainy with new snow on the mountains. Instead of outdoors, I’ve been in our unheated (10C) solarium cleaning up fallen leaves from cold-suffering and pouting hibiscuses and jades. A few hardy plants are bringing some pleasure though, and I tried taking some photos to share. A sign of how dark it is even out there at mid-day is that the camera’s flash kept coming on.

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Anyway, here are two of my favourite old faithfuls – a jade and a heavenly scented orchid. Wishing an early spring to all my readers who are having a late and snowy winter!

I must say though, that Dave Bonta’s beautiful winter photos almost make me want snow again!

P.S. Oh, and while I’m playing a bit of linky love, I’ve been wanting to point out Teju Cole’s essay on how to write. I’m always in such awe of his writing on his blog that it makes me feel like I should stop my own scribblings and just concentrate on my visual art!

Benjamin Phillips exhibition

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I’m pleased to introduce Benjamin Phillips, a young artist who has been working in Capilano University’s Art Institute, first in the sculpture area and now in printmaking. I first met him last year when he presented his sculptures at the Studio Art Gallery. His amazing work and his talk left a most powerful impression on me and many others. Now he is showing some of those sculptures in a gallery in Vancouver, and I hope readers in the area will come out to see his work. Here is the press release:

Chthonian* Dialogue
Opening February 23rd, 2007
Access Artist Run Centre’s Project Room

Are men becoming more feminine in society today?
Are men and women now afraid of acting too masculine or too feminine?

Benjamin Phillips, a 33-year-old Vancouver based sculptor is asking these questions in a solo show at the Access Artist Run Centre’s Project Room at 206 Carrall Street, Vancouver.

Mr. Phillips has degrees in art and comparative religions from the University of Victoria and Acadia University.  Over the past three years he has been developing a body of bronze sculptures that draw heavily from references to Greek mythology.

The sculptures reflect his interest in quietly subverting the idealistic traditions we have grown accustomed to in traditional figurative bronze art.  “Bronze’s natural permanency,” he states, “suits my interest in recording insights into this subject as an enduring record and as a stimulus for dialogue.”

By using a classical sculptural material, bronze, and drawing heavily from references to Greek mythology, Mr. Phillips challenges traditional representations of male and female forms by reversing our gender-specific stereotypes.  “For example, fortitude and self assertion are trademark symbols in art history for masculine expression, while surrender and repose are often reserved for female expression”, he explains.  By exchanging these stereotypes, a new context is exposed for inquiry into both the stereotype and the form.

“I realize these can be sensitive, even controversial topics to be addressing, but to not inquire would seem to be denying a very basic aspect of human nature” he states.

The show is called Chthonian Dialogue and opens February 23rd at the Access Artist Run Centre on Carrall Street.  It runs until March 15.
 
*Chthonian is a Greek word associated with a place of spirits and primal emotions deep under the earth, somewhat like our subconscious dreamscapes.
 
For more information about the artist, please go to priapiculture

OriginsNet

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Chauvet. Owl, engraved in mud. (c. 28-30,000 BC)
Photo © Chauvet, J-M., Brunel Deschamps, E., and Hillaire, C. (1995). Dawn of Art, The Chauvet Cave: The Oldest Known Paintings in the World. New York: Abrams.

Reader Bill, knowing my interest in prehistoric art, recently sent me a link to a very informative website. OriginsNet is about Researching the Origins of Art, Religion, & Mind. The oldest period, predating early Paleolithic, is called Oldowan, a new term for me (an interested amateur). There’s a great deal of research material presented, but naturally the photographs interested me the most. In particular, the gallery of Upper Paleolithic Art is stunning with its exceptional quality photos of pictographs from famous sites like Lascaux, Chauvet, Altamira and others. The above image, which I’ve borrowed, struck me for NOT being a pictograph, but instead it’s engraved in mud.

James Harrod, the site manager, is a scholar specializing in prehistoric art, religion and semiotics. He argues that by the time of the Magdalenian, there appears to be a religious symbol system in which four animal symbols, horse, bison, ibex and deer, are structured in a complementarity relationship or ‘quaternion’. Once utilized in such a semiotic system, the animal symbols can function as a complex, multi-leveled mnemonic device, an ‘encyclopedia’ of Magdalenian social and naturalist knowledge and spiritual values.

Fascinating. Thanks, Bill!

my left foot

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after hands, come feet…

handprints

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Moving on from my initial studies of hands by way of scanning, I played around with ways of taking an impression of my hands.

I decided to try making collagraphs using acrylic medium on matcard pieces. I applied the medium using thin coats and thick coats and several types and brands of acrylic medium. I pressed my hands into the medium, from very wet, to almost dry. It was hard to get a very fine impression that was printable. The last two tests have a moderately thick layer of gel medium, allowed to dry slightly. Pressing hands into the medium still squished it around but with some additional drawing and manipulating, I achieved satisfactory impressions.

Shown here are scans of the initial proofs of the two plates printed on white paper. The print below is a section of the slightly larger print, too big for my scanner. Today, I printed these two plates on top of a much larger inkjet print of another image and was quite pleased with the result. Now this piece, another one of my ‘Silent Messenger’ series is almost ready to edition. Progress. And I feel better!

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In case you are wondering – What is a collagraph?

friendship day

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Hauskaa Ystävänpäivää and Happy Friendship Day**, everyone!

Since learning about this very inclusive celebration, I like it far more than our over-commercialized and wasteful Valentine’s Day, as long as we keep it simple. I did make this heart for you, dear readers, by recycling and cutting up a proof of a collagraph print, just like the number 3 made a little while ago.

It is amazing how many people and even countries now loathe and try to banish Valentine’s Day. Yet there are those who are eager to go to Love, a town in Saskatchewan on this day of the year.

And here’s a story of another kind of love, about a diplomat who fell in love with the Finnish language.

** This link no longer exists. Please go to Wikipedia’s entry on Valentine’s Day and scroll down to Europe and Finland.

in the garden

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experiments in the studio
still not working
a walk in the garden
between showers
signs of spring
lifting the veil
to joy

February 11th

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events and births on this day
this day in Canada
artists born on this day: Max Beckman and Kazimir Malevich
and me!

(Last two lInks from Anna Conti’s blog)

Addendum Feb.12th: I adore this quote a dear friend included in her card to me:
“Age, like Art, is wide open to interpretation.”

hands

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studying hands
reading about hands
inspired by hands
pressing hands into medium
scanning hand

(Later: See the hand prints that followed)

the magic flute

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Oh my, what a wonderful evening! We splurged on a special night out at the opera and were thoroughly enthralled by the wonderful new production of Mozart’s The Magic Flute, in a unique and fascinating collaboration with First Nations artists.

Vancouver Opera’s new production of Mozart’s beguiling opera is set on the rocky shores and in the looming forests of the Pacific coast. There, the characters encounter many of the human figures, animals and supernatural creatures of Coast Salish mythology, in a visually splendid design conceived in collaboration with a team of First Nations artists. The Magic Flute will be an exciting exploration of the intersection of two rich cultures – the musical and theatrical traditions of 18th century Europe, beautifully performed, and the ancient mythology of the indigenous people of the Canadian west coast, beautifully depicted.

We found the sets absolutely magical and powerful – I’m feeling very inspired and high and unable to go to sleep yet! The adaptation and the costumes were marvellous and the singing was very good, though not always with the power I like, but perhaps that was partly the acoustics of the theatre. We found it interesting that just before the start of the opera, Leonard George (if we caught the name right, the son of the famous late Chief Dan George), spoke a few words of gratitude for this collaboration and then chanted and played the tribal drum for a few minutes – a moving touch! It was an almost full house, even on a Tuesday night, so it’s been received very well. We were saying on the way home that this is the kind of artistic production that we should be presenting at our Olympics. My only beef is that the audience kept clapping after every song, not our usual experience.

To give you a little taste of it, you may enjoy viewing several audio and video clips from the production, on VO’s site. For many weeks there was a great deal of advance media buzz about this innovative production, which certainly attracted our interest: in the CBC, this review.

Image above, from CBC: Etienne Dupuis is Papageno and Angela Welch is Papagena. Costumes reflect West Coast native traditions. (Tim Matheson/Vancouver Opera)

UPDATE 2013: most links are no longer available and have been removed.